Spring is a busy time for music fans. There is a general increase in the number of album releases, from both big-name and niche artists, as we all gear up for the summer. Even if the album isn’t dropping, week by week, more singles hit the net, either as stand-alones or as sneak peeks at an upcoming album release.
Throw in all the summer and fall festivals that are setting their lineups and putting tickets on sale, and the usual run of big-time summer tours that begin making tickets available, and any music lover can be excused if they grow a bit obsessive around this time of year.
I mean, if 30-something stock brokers are calling in sick with a case of March Madness, surely I can take the morning off to make sure I get my Dylan tickets.
Three things to listen to in the final week of March
Since the universe is too vast to contemplate in its entirety – I’m talking about the music universe – I’m just fine with the natural universe – we’re taking a small bite today. Here are three just-released recordings that any music fan should give a listen to. I can’t promise you’ll like them all. I can only say that you have to at least listen.
“Days We Left Behind” by Paul McCartney
Let’s start small. 200 seconds worth of wistful nostalgia from arguably the greatest composer of pop melody in the latter half of the 20th century. “Days We Left Behind” is the first single released from McCartney’s upcoming album, The Boys of Dungeon Lane, due out on May 29.
It opens with Paul’s (I’ve never been comfortable calling him Macca) high, thin voice over a simple acoustic guitar. The chords are gentle but not overly sad. The melody is typically lovely. I don’t find anything transcendent in the tune. It does not rival the majesty of “Yesterday” or the ache of “For No One.”
But it is clearly superior to the revived “Now and Then,” that somehow charmed folks a couple of years ago.
Paul recalls his youth – something the upcoming album promises to continue – including a reference to meeting the greatest musical influence on his childhood street, Forthlin Road, and includes a cryptic reference to a promise that he will never break.
If this isn’t transcendent Beatles – or Macca (there, I said it) – it is still a beautiful memory song, from an 83-year-old artist who handles this type of thing better than most who have ever tried.
Honora by Flea
I know what you’re thinking. Red Hot Chili Peppers’ bassist Flea (AKA Michael Peter Balzary) heard Andre 3000 (AKA Andre Lauren Benjamin) trade in his raps for a flute on 2023’s New Blue Sun and was thus inspired to pick up his first musical love – the trumpet.
I have no idea if that’s true or not. I only know that Flea has just dropped his first feature-length solo album, and it has some glorious highs. Start with the first full track (after a short, atmospheric table setter). “A Plea” is an original composition that rivals some of the best jazz this century.
As you might expect, Flea’s bass and trumpet are the dominant voices, but he has brought together a crack support band to bolster the sound. The only problem is that halfway through the seven-and-a-half-minute track, Flea begins a sort of chant vocal, which is kind of on-the-nose. This isn’t his strength, but the music remains sublime.
On the rest of the album, you get several fascinating covers. His version of George Clinton’s “Maggot Brain” is almost too subdued, but if you allow it in, the languid trumpet gets into your bloodstream. The same applies to a completely reimagined “Wichita Lineman,” with gothic vocals by Nick Cave.
This album is mellow to the max, and if you need a jolt of energy, you may be disappointed. But there is a quiet intensity running through, culminating in the sinewy jazz funk of another Flea original, “Free As I Want To Be.” This time, the vocals do not interrupt – they simply provide another rhythmic element for a fuzzed-out guitar and comforting piano to bounce off.
Creature of Habit by Courtney Barnett
I haven’t heard every new album this week, but that never deters me. This is the best album of the week. Not surprising given Barnett’s enormous skill set. The Aussie’s fourth studio release (if we don’t count her Kurt Vile collab) is something of a flip side to her critically acclaimed third album, Things Take Time, Take Time.
That one was created in the heart of the COVID pandemic, and it has the spare, downbeat aura that was typical of so much music back in 2021.
Creature… is downright peppy in comparison. “Wonder,” which for some reason has not been released as a single, is about as upbeat and optimistic as Barnett has ever been. (Although, to be fair, the song is about questioning whether the love of your life is sincere or not).
Another critical darling, Waxahatchie, brings a touch of country to “Site Unseen.” And “I Don’t Know Where to Start” is an easy-going indie pop beauty.
Don’t let the softer touches fool you. Barnett can still rock with the best songwriters of the day. The lead track “Stay in Your Lane” makes that clear. And the snarky hook of “Great Advice” delivers attitude without artifice.
This is a very strong album from Barnett that should find its way onto plenty of “Best Ofs” come year's end. Or at least onto mine.